NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud of its partnership with the Industrial Development Corporation (IDC) as a Strategic Implementing Partner (SIP) for its Social Employment Fund (SEF). Through this collaboration, MIAF is running a national programme that is creating jobs, addressing skills gaps, and strengthening South Africa's creative industries — in line with the SEF's overarching goal to generate work for the common good and build community value through employment, social contribution, and inclusive economic participation. Operating under the banner NEFCISA (National Employment Facility for Creative Industries in South Africa), the initiative is recruiting and training participants, matching them with host organisations, and has already placed 1 500 workers across the country — surpassing its original target of 1 000. NEFCISA is delivered through a network of 20 host organisations spanning five provinces, who are actively hosting participants and contributing to work for the common good across South Africa's creative and cultural industries. Key Objectives: Support employment and entrepreneurship in the creative industries. Offer skills development and training programmes. Foster partnerships between public and private creative sectors. Promote South African creativity at both provincial and national levels Foster community development through social contribution.

ACCES
ACCES

ACCES Conference and Showcase Festival is Africa's leading music industry gathering, bringing together the people shaping the future of the continent's music business. Artists, entrepreneurs, executives, investors, policymakers and cultural leaders from across Africa and around the world come to ACCES to build partnerships, exchange ideas, discover talent and create new business opportunities. Since its launch in 2017, ACCES has become the continent's premier platform for professional exchange and music market development. Combining a high-level conference with a curated showcase festival, networking, exhibitions and industry programmes, ACCES offers a unique space where creativity meets business and where African music connects with the global industry.

Gender@Work
Gender@Work

Music In Africa Gender @ Work is a three-year training programme aimed at upskilling and increasing the participation of female professionals in the African music sector. Launched by the Music In Africa Foundation (MIAF) in April 2019, the programme is connected to the MIAF’s ACCES music conference – a pan-African event held in a different African country every year. This connection enables the programme to reach new participants in a different African country every year. The programme marks the beginning of a more concerted effort by the Foundation to support the participation and inclusion of women in all facets of its programmes and the music sector in Africa as a whole. Over the three years, the programme will aim to address gender imbalances in the sector through training, lobbying, facilitating knowledge exchange and dialogues that foster the interest of women. The broader objectives of the programme are to: Provide industry training for women on critical music industry skills, focusing on: Stage management Electronic music production and recording Music business management Technical knowledge Provide an opportunity for both professional and aspiring women to benefit from the Music In Africa network and its broad range of activities in 2019, 2020 and 2021. Provide a solution-based platform in the form of a round table at ACCES with a view to identify challenges, discuss opportunities and lobby for the interests of female practitioners. Offer participants the opportunity to benefit from programmes offered by MIAF’s partners. Increase access to educational materials. Integrate participants in the broader ACCES programme to maximise experience and exposure to the industry. Record and present training materials on the www.musicinafrica.net, including but not limited to tutorials, templates and other best-practice materials. Communicate women-based themes that support the initiatives and messages of the programme. MAIN TRAINING ACTIVITIES Training in first country (Ghana): In the first year, participants will be trained on all aspects of stage management by a team of experienced stage managers from 10 to 17 November 2019. The programme will offer robust classroom training as well as practical, hands-on training in which participants will also be given the opportunity to manage various aspects of the ACCES performance programme. Training in second country: The second training iteration will take place at ACCES 2020 when the programme will diversify its course to include music production lessons and training on other music business topics. A round-table platform will also be introduced to coincide with the ACCES programme. Training in third country: The third training iteration will take place at ACCES 2021 in a different country, offering an advanced course. HOW DO YOU GET INVOLVED?  As a participant, facilitator or trainer: The programme enrolls up to 12 trainees every year. All opportunities are advertised publicly on this website, and will be added to this page. Please keep checking this page for new calls (below under UPDATES & CURRENT OPPORTUNITIES). As a partner Please contact Claire Metais at [email protected]. APPLY The call for applications for 2020 will be announced soon. The Music In Africa Gender @ Work programme is made possible with the support of the Prince Claus Fund, Siemens Stiftung and Goethe-Institut.

Sound Connects Fund
Sound Connects Fund

For cultural and creative practitioners and organisations operating in southern Africa, access to funding remains a major challenge. The COVID-19 pandemic has also had a massive impact on government policy, spending and the economy in general, and has seen spending on culture being moved further down the list of priorities. Further, the cultural and creative industries repeatedly cite four main areas where investment is needed for growth, which are increased visibility, mobility including access to new markets, finance and support structures.

Instrument Building And Repair Project
Instrument Building And Repair Project

Experience the Vibrations African Instruments Exhibition online in 3D

Features

Bad Mambo to offer Kenyan reggae fans exceptional sounds

18 Jan 2016 - 05:59

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The paradox of a great deal of reggae fans the world over is that while there is talk of reggae's message of peace, love and unity, lovers of the genre are sometimes regarded as violent or unruly. Kenyan fans are no exception.

Binti Afrika during a live performance. Photo: Bad Mambo Facebook page

Even though reggae has a long history in Kenya, according to Celina Njoki a host at Ghetto Radio (89.5 FM), the way reggae was introduced in Kenya made a big impact on how it is perceived. Reggae music was played first for people from less privileged backgrounds, mostly in urban ghettos, and so it became associated with certain vices and crimes. Indeed many of Kenya's most ardent reggae fans came from certain suburbs in Nairobi.

The most notorious hailed from Nairobi estates like Ziwani, Kaloleni, Jericho, Bahati. Such groupings were and still are referred to as "massive and crew" on the Kenyan reggae scene. Massive and crew were famous for all the wrong reasons: such as smoking joints openly, spoiling for fights on the dancefloor, intimidating ladies or disrespecting well-muscled security men.

This trend, thankfully, is gradually changing. A few promoters are working hard at building the image of reggae music in Kenya.

Bad Mambo is a Kenyan outfit pushing an alternative sound to the mainstream reggae that is basically the only choice in most Nairobi clubs. Since 2014 the organization, together with the Bus Yard Collective, has hosted a series of events seeking to give Kenyans a unique perspective to reggae music.“There is a paucity of good live reggae coming from Kenya,” says David Cecil, Artist and Repertoire Manager at Bad Mambo, adding that reggae was traditionally a live music genre but because of the expense of getting a live band together, reggae has suffered.

In 2016 Bad Mambo will launch a series of reggae themed events that will be staged on the last Friday of every month. Dubbed Rebel Bass Sounds, the first event in the series will be staged on Friday 22 January at the Meriada Gardens near Valley Arcade in Nairobi.

Previously Bad Mambo hosted events under the name Rub-a-Dub were mainly focussed on promoting pure dub reggae. With Rebel Bass Sounds, the idea is to move forward with a new vibe and a new crew, drawn partly from Ghetto Radio and Bad Mambo. For Rebel Bass nights, Bad Mambo will be targeting Nairobi's true reggae fans and involving local Kenyans to give an element that Rub-a-Dub lacked. The DJ line-up for the inaugural event includes both Kenyans and other nationalities, including DJ Musty (Ghetto Radio), Celina Da Brown Skin Sadaqta (Ghetto Radio), Shoeshine Boy (KE), Binti Afrika (KE), DJ Relic (UK) and DJ Skaface (Bad Mambo, UK).

Lack of support

Even though reggae music in Kenya has been very vibrant, with lots of fans and listeners, reggae events have faced a challenge in attracting sponsorship. “The problem with reggae is promoters can't attract sponsorship as other music events would," explains Celina. "Corporate organisations have not accepted reggae due to the negativity associated with it. Companies give reggae events a wide berth due to its association with violence, slackness and drugs.”

Besides having little or no success in attracting sponsorships, the Kenyan reggae scene has on some occasions experienced "no-shows" from various reggae artists slated to perform in the country. David says that this is a controversial issue, with some people blaming greedy promoters and others blaming arrogant artists. "The truth is that this madness can be avoided by proper communications and working with like-minded people," he says. "If money is the primary reason for hosting or playing a gig, then you are bound to run into problems."

As a solution, David encourages audiences, artists and producers to see the musical potential in reggae. “Reggae is not just Rasta business – it is about love, politics, laughter, money, madness, sadness, badness and joyfulness,” he smiles.

The promoter says local audiences need to be much more selective about the quality of music and sound system. He says revellers should stop attending nights with bad sound as this just encourages weak operators. “The next challenge is to step up with a bigger and more high-fidelity sound system which is, to my mind, the most important aspect of any reggae night and the most neglected one in Kenya right now. So far, only the Mungo’s Hi Fi event that Bad Mambo hosted in October 2015 really had proper sound - you could see the audience response when we turned the bass up!"

Bad Mambo has events lined up for the fourth Friday of every month. To learn more, visit the Bad Mambo website.

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